The second edition in the SESSION GUITARIST series, STRUMMED ACOUSTIC 2, expands your sound palette with two carefully selected vintage acoustic guitars, an extensive library of patterns and chords, plus real-time performance control.
SESSION GUITARIST – STRUMMED ACOUSTIC 2 includes two renowned instruments, played by skilled session pros. Choose a coveted vintage Martin 0-17 from 1934 – a small-bodied mahogany 6-string with a warm, mellow tone. Or select the full yet articulate sound of the Guild F-412 12-string – a jumbo model first produced in the late 1960s, and now a benchmark for 12-strings.
A range of real-time performance controls puts the musicality of skilled session musicians at your fingertips. Play chords from your keyboard or choose the auto-chord feature. Use key switches, the mod wheel, and the pitch wheel to quickly change rhythms, crossfade chord voicings, and add accents as you build your arrangement. Season the mix with built-in effects.
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Draw from a wealth of dynamic strumming patterns with accent variations perfect for rock, folk, country, bluegrass, Latin, pop, and more. Each pattern can be played intuitively using a virtually endless number of chords in multiple positions up and down the neck. Choose from numerous song presets, customize pattern collections, and smoothly switch among those patterns as you play.
Play custom bass lines or add extra notes to chords with the new Separate Bass patterns, and spice up your playing for country, bluegrass, folk, and more.
Quickly find the strumming pattern you need by tapping or playing a rhythm on your keyboard. Filter the search results by musical attributes such as open or muted patterns.
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Quickly customize your sound using versatile sound control features. Easily adjust the balance of high and low chord voicings. Add a doubled guitar part for extra width, and incorporate fret noise to enhance realism. Sculpt the sound and fine-tune each guitar’s placement in the mix with ready-to-use compression and EQ presets. Create space and depth with convolution reverb.
STRUMMED ACOUSTIC 2 was created in collaboration with drumasonic – the same award-winning sample instrument team behind the original STRUMMED ACOUSTIC. Using an array of vintage ribbon and condenser microphones plus boutique preamps, drumasonic captured every nuance of these classic acoustic instruments in perfect detail. A custom-built mounting rig and a laser-based microphone positioning system helped ensure precision and consistency for every chord and pattern.Native Instruments Strummed Acoustic bringt einen Gitarristen als Begleitmusiker in den Rechner. Ziel dieser Software soll es sein, schnelle Begleit-Tracks auf einer akustischen Gitarre mit Stahlsaiten produzieren zu können, auch wenn man selbst keine Ahnung vom Zusammenspiel der sechs Saiten auf einem Holzkorpus hat.
Das Prinzip ist einfach aufgebaut: Auswählen eines oder mehrerer Pattern, Einstellen des Klangbilds und Spielen der Akkorde auf einem Keyboard. Mehr ist es nicht. Das Bedienpanel erschließt sich ohne Vorkenntnisse recht schnell, wenn man einfach mal herumspielt. Ein wunderbares Tutorial Video gibt es als Link am Ende dieses Tests.
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Von E2 bis D#5 können alle erdenklichen Akkorde gegriffen werden. Diese werden nach Art eines der acht Pattern gespielt, die von C1 bis G1 definiert werden können. In diesem Modus sind Kenntnisse der Harmonielehre und von Akkorden hilfreich!
Noch einfacher wird es mit Auto Chords. Sobald der gewünschte Grundton und Dur oder Moll ausgewählt wurde, erscheinen auf der eingeblendeten Klaviatur alle harmonisch korrespondierenden Akkorde dazu. Auch hier werden die acht möglichen Pattern mittels der Tasten C1 bis G1 getriggert.
Durch Doppelklick auf eines der acht Slots öffnet sich der Pattern Browser. In diesem Fenster kann man sich durch die zahlreichen Pattern durchklicken oder sich durch verschiedene Filter seinem Ziel nähern. Die Pattern können nach Kriterien wie Hard/Soft, Taktart, Spieltechnik sortiert werden.
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Sie sehen gerade einen Platzhalterinhalt von Facebook. Um auf den eigentlichen Inhalt zuzugreifen, klicken Sie auf die Schaltfläche unten. Bitte beachten Sie, dass dabei Daten an Drittanbieter weitergegeben werden.
Sie sehen gerade einen Platzhalterinhalt von Instagram. Um auf den eigentlichen Inhalt zuzugreifen, klicken Sie auf die Schaltfläche unten. Bitte beachten Sie, dass dabei Daten an Drittanbieter weitergegeben werden.
Sie sehen gerade einen Platzhalterinhalt von X. Um auf den eigentlichen Inhalt zuzugreifen, klicken Sie auf die Schaltfläche unten. Bitte beachten Sie, dass dabei Daten an Drittanbieter weitergegeben werden.) is any guitar played while moving a steel bar or similar hard object against plucked strings. The bar itself is called a steel and is the source of the name steel guitar. The instrumt differs from a convtional guitar in that it is played without using frets; conceptually, it is somewhat akin to playing a guitar with one finger (the bar). Known for its portamto capabilities, gliding smoothly over every pitch betwe notes, the instrumt can produce a sinuous crying sound and deep vibrato emulating the human singing voice. Typically, the strings are plucked (not strummed) by the fingers of the dominant hand, while the steel tone bar is pressed lightly against the strings and moved by the opposite hand.
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The idea of creating music with a slide of some type has be traced back to early African instrumts, but the modern steel guitar was conceived and popularized in the Hawaiian Islands. The Hawaiians began playing a convtional guitar in a horizontal position across the knees instead of flat against the body, using the bar instead of fingers. Joseph Kekuku developed this manner of playing a guitar, known as Hawaiian style, about 1890 and the technique spread internationally.
The sound of Hawaiian music featuring steel guitar became an during musical fad in the United States in the first half of the twtieth ctury and in 1916, recordings of indigous Hawaiian music outsold all other U.S. musical gres. This popularity spawned the manufacture of guitars designed specifically to be played horizontally. The archetypal instrumt is the Hawaiian guitar, also called a lap steel. These early acoustic instrumts were not loud ough relative to other instrumts, but that changed in 1934 wh a steel guitarist named George Beauchamp invted the electric guitar pickup. Electrification allowed these instrumts to be heard, and it also meant their resonant chambers were no longer esstial. This meant steel guitars could be manufactured in any design, ev a rectangular block bearing little or no resemblance to the traditional guitar shape. This led to table-like instrumts in a metal frame on legs called console steels, which were technologically improved about 1950 to become the more versatile pedal steel guitar.
In the United States, the steel guitar influced popular music in the early twtieth ctury, combining with jazz, swing and country music to be promintly heard in Western swing, honky-tonk, gospel and bluegrass. The instrumt influced Blues artists in the Mississippi Delta who embraced the steel guitar sound but continued holding their guitar in the traditional way; they used a tubular object (the neck of a bottle) called a slide around a finger. This technique, historically called bottleck guitar, is now known as slide guitar and is commonly associated with blues and rock music. Bluegrass artists adapted the Hawaiian style of playing in a resonator guitar known as a Dobro, a type of steel guitar with either a round or square neck, sometimes played with the musician standing and the guitar facing upward held horizontally by a shoulder strap.
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In the late 19th ctury, European sailors and Portuguese vaqueros, hired by Hawaii's king to work cattle ranches, introduced Spanish guitars in the Hawaiian Islands.
They re-tuned their guitars to make them sound a major chord wh all six strings were strummed, now known as an op tuning.
To change chords, they used some smooth object, usually a piece of pipe or metal, sliding it over the strings to the fourth or fifth position, easily playing a three-chord song.
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It is physically difficult to hold a steel bar against the strings while holding the guitar against the body (hand supinated) so the Hawaiians placed the guitar across the lap and played it with the hand pronated. Playing this way became popular throughout Hawai'i and spread internationally.
Oahu-born Joseph Kekuku became proficit in this style of playing around the d of the 19th ctury and popularized it—some sources say he invted the steel guitar.
He moved to the U.S. and became a vaudeville performer and also toured Europe performing Hawaiian music. The Hawaiian style of playing spread to America and became popular during the first half of the 20th ctury; noted players of the era were Frank Ferera, Sam Ku West, King Bnie Nawahi and Sol Hoʻopiʻi. Hoʻopiʻi (/ˌ h oʊ oʊ ˈ p iː i / hoh-oh-PEE -ee)
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The show became quite successful and, to ride this wave of success, it toured the
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